I forgot about this cartoon. And yeah he did look a little like the bookworm. Chuck Jones is the man! That really sucks that Bob Clampett and Chuck didnt get along. And Chuck didnt acknowledge him as the "founding fathers" of Bugs Bunny--thats the only thing I didnt agree with Chuck on (and the Dot and the Line-Sorry but it was horrible). I dont care how much you dont like someone personaly, but you should always acknowledge there work for what it is..........

I've never seen this cartoon. Amazingly well constructed animation (Bob McKimson?), but early Chuck Jones moved so slow. Slower than Disney. Such a contrast to Clampett who would have more things happening in a seven minute cartoon than happen in about ten other cartoons combined.

I never knew that Chuck Jones used to make cartoons like this. I've always thought he specialised in comedy, like Tom and Jerry and Road Runner. I sometimes kind of like cute cartoons, as long as they're still fun to watch and are not sickly sentimental. The Fleischers' Dizzy Red Riding Hood is one of my favourites from this category.

John K said:"I love that cartoon, but never in a million years would have thought of it as "cute"!"

:)Ah, could it be the subtle sexual references? That's part of the reason I love it. Like when Betty's garter keeps falling down, and as she bends over to pull it up, Bimbo (dressed as a wolf) is spying on her from behind a tree!

"I'd think she'd like a pansy, the fairies like them too."Could this be the world's first gay joke?

Oh shit sorry. I was referring to the cartoon. How I thought that you thought the kid in this sequence looked like the bookworm from the other Looney tune cartoons that Chuck Jones did (Night Watchman). --Haha Funny Shit

It's a unique short for Warners, but that's mainly because it was 3-4 years behind the times -- by the time Jones made this cartoon, even Disney had gotten out of the overly-mauldin short subject competition, and was having his directors focus on stuff like Donald, Pluto and Goofy. But at least Chuck got the hint from Schlesinger to start gaging up his work faster than Hugh Harman and Rudy Ising over at MGM, who never would pay attention to Fred Quimby about shifting away from little melodramas and into straight out comedy cartoons and emded up being ushered out (or took the hint and left) in favor of Avery.

John, That filmography you posted just makes me want a chronological boxed set even more than before.

A chronological boxed set could be looked upon as a historical record and then people's qualms about certain cartoons can be somewhat allayed because it's not in the context of someone putting a collection together based on taste.

"it makes me wonder now why Jones didn't up and leave Warner's and work for Disney? No confidence?"

Well, I'm pretty sure he tried to get a job there around or before that time, and was turned down. Disney's had something to say about it! ; )

Remember, the young Chuck Jones, while very good, wasn't nearly as good a draftsman as he became, and add to that that he worked for a studio already that practically marked him as a "no way" candidate for Disneys. The Disney studio believed at that time that they did best with completely fresh, straight out of art school top draftsman to train for new animators; if anything they were hugely prejudiced against anyone who got their training somewhere else(almost anyone--there are a few exceptions, mostly not in the animation dept.). I don't agree with this mindset and don't think it was fair, but also remember Disneys was the HUGEST, most famous, most Tiffanys of animation studios then; they had their pick of literallly thousands of the best artists in the country to choose from to hire. I believe Chuck had a chip on his shoulder his entire life about this, and felt cheated that he didn't work on "Bambi", etc...not that that stopped him from making some incredible cartoons...and the irony is that of course he was MUCH better off at WB than he'd have ever been at Disney. But it was the most prestigious place to work, no doubt about that, and Chuck always felt he deserved a job there. He finally got one, after WB closed in the later 50s, but by then he was a pretty intractable man and not the kind of guy who could take a back seat anywhere, so he left after a few months. There's stuff about that in an interview with Ward Kimball at Mickael Barrier's site

Wow, I just read in Barrier's great book that this was NOT rotoscoped, it's just an example of what Bob McKimson was capable of! Jones used McKimson for his early Disney style cartoons because he was Leon's top animator, and from these clips it's not hard to see why!

Beautifully done, but utterly soul-less, rather typical of Jones from this period. In later periods, Jones' outstanding sense of craft (and Mike Maltese's scripts) overcame his profound lack of "soul".Chris